Hats off to Glenn Close. Really. When you’ve lived with and loved a role and a story for as long as she’s hung on to “Albert Nobbs” (which she first performed as a play way back in 1982), you deserve a pat on the back.

She’s been trying to get this made as a film ever since she stumbled onto the George Moore short story, and even saw things fall apart 10 years ago when she was oh so close (no pun intended). Finally, it’s a reality, thanks to filmmaker Rodrigo Garcia. But with great passion can come, often, blinders to the flaws of a story.

The film tells the tale of Albert Nobbs, who appears to merely be a “kind little man,” a hotel waiter in 19th-century Ireland. Or so it would seem. In reality, Nobbs is an older woman posing as a man in a male-dominated society, glacially putting together the funds to live her dream: purchasing a small shop and selling, oh, tobacco will do.

Both the charm and the tragedy of the piece comes in that naivete. We learn in back story conveyed to a confidante of an unfortunate circumstance in Nobbs’s past, one that robbed her of an innocence far too young and perhaps froze her there permanently.

It’s an intriguing character, but one that feels somewhat closed off to the audience. That works, given the circumstances, up to a point, but before long it becomes of a piece with the film’s claustrophobic nature: it never really breaks out of its stage roots. A well-rounded ensemble helps matters by livening the proceedings up, but the film is also structured in a peculiar way, the story never opening up into considerable philosophical stakes.

All of that said, Close is fantastic in the role of Nobbs. It’s the kind of performance that ought to merit an Oscar nomination, should Roadside find traction (and put a lot of effort into the built-in narrative of the actress’s under-appreciation in matters of film awards). She knows the part all too well and she gives Nobbs a life and a sparkle that isn’t there on the page. Performances from Janet McTeer, as a painter in a similar situation, and Mia Wasikowska, as a hotel waitress who becomes the object of Nobbs’s affection, are also worth mentioning.

In any case, even though I don’t think the film ever really taps a pulse, I’m finding it difficult to be too hard on it. Again, it’s lovely to see a passion project finally see its way to fruition and I don’t think anyone can rain on Close’s parade for that. I look forward to discussing all of that with her tomorrow morning.

Passion for a project does not warrant an Oscar nomination. Close really needed to hit this performance out of the park to get an Oscar nod and it sounds as though you are being kind and applauding her passion but the performance isn’t really there nor the film as a whole.

Wow, that is a little disheartening to hear about Glen Close and Albert Nobbs as a whole, but I guess that is par for the course this season.

It seems like everything is striking out left and right, in terms of finding that film that everyone responds to. It seems like between The Ides of March, Carnage, A Dangerous Method, The Artist, Albert Nobbs, and The Descendants that they are all either pretty good, good, or really good (maybe a few are great depending on the viewer) – but nothing seems to be universally accepted as a hands down masterpiece across the board Oscar deserving film. Not saying any of these films are bad or that they can’t be nominated or win, but sometimes you can just tell when something special has been delivered – even at a film festival that only a handful of people get to see – and so far nothing has really surprised or elevated yet. I’m keeping my fingers crossed that the best is yet to come, but I can’t deny that my expectations for the above mentioned films has diminished drastically after reading many of the reviews.

What was the reaction of the audience at your screening, Kris? I’m having trouble finding early reviews/reactions to this movie (people were quick to jump online for Ides of March/Descendants/Carnage/A Dangerous Method, not so much for this one). Did it seem others were in your boat, aka Close was good but the movie was lacking? Or was the general reception better/worse than your own reaction? Very interested in how this one plays out, as it was my sleeper pick of the season (and I am a huge admirer of Close).

I guess it rests on Toronto now. Still, it wouldn’t be the first time an actor/actress potentially won despite their film being less-than-stellar, if the awards voters feel that Close is a deserving winner. It just means it’s less of a slam dunk win than some of us prognosticated.

However, yes, the reviews for AN might be iffy. But so were The Reader‘s, so we’ll see if the lifetime achievement movement holds water. As it stands, she could potentially miss all major awards, and still win SAG and the Oscar. We’ll see. I’ll be rooting for Davis now though as a backup.

I saw it this morning at the Chuck Jones Cinema and I agree with you, Kris, about the film as a whole. The character of Albert Nobbs works as a repressed butler only to a point. Glenn Close is wonderful, though, and Janet McTeer, for me, was best in show.